Loy Luo Space

Red is extreme, whether in light or dark; bright red is charming, and dark red is dangerous. Perhaps this is because red conveys intense energy. The footprints of red always seem to be accompanied by drumbeats, moving forward forcefully and never stopping. 

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Interestingly, color psychology shows that red and the square belong to the same frequency. The square, a shape often associated with stability and balance, is the favorite of metaphysicians. Perhaps some explanation code is hidden here: Why does red, popularly regarded as fiery and surging, allow contemporary artists to experience a strong and transcendent philosophical temperament more than other colors?

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Whether in abstract or figurative form, material, or simple painting, this tiny red group exhibition reflects a particular transcendental spirit while evoking human emotions. It serves as a powerful reminder of the unique role of red in art, bridging the gap between metaphysics and appearance and between transcendental spirit and secular emotions. 

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A critical theory of classical Chinese aesthetics is "sad but not miserable," which may reveal a way out for contemporary art or be a turning point in the post-abstract era: our art certainly needs the warmth of human emotions, but the emotions cannot be so strong that they get out of control, thus deviating from the mysterious home of absolute spirit and losing metaphysical enlightenment.   (Loy Luo)